4A 
‘ Aid i fate ' ' / ' - 
{i . \ f é 
4 i ‘ 4 : ‘ ‘ aava ae Gabe a ateatea ne 
\ ‘ \ 4 2 Aik eb 4 4 fey ep wwe worn 
‘ 4 hava a 
Pere Ere rere; Be sii shanaietiin 
tee ties Ag 4 Pash 3h OF 
wey ane ainet Keen ee teen ay 4 ‘ 
P 5 +e mh vlad ae aheraaen ar Prerrerarier ticity ins 
‘ Seijahate 4) 3606 Pita ema tle a tap eRLe TON chee NGI) CAbaHND paeteetea a ae 4 
’ 5 4 , visas aid Sham eeia Perererieriiti tial rte ca 
‘ ‘ : 4 We ate auwels putt wea Sey nheed that - Petre rr in pale 
, Asha peagH oS ipRasaiade ver 
‘ sented jhe gate in a9 asd dann tox t 
{ ‘ ajawar Wrey tt ssdvbet 
! 4 Perr ene, Steer " yous 
papas 4 muss sieayaheaty 29 Perereter Wrenn) 
; > " . 2ha9h 44a peo atoall aioe tae bon Gin lp adul ooas 
‘ , ib aie hg nbn 24 9 mf se Gyan arabs i *)e4 Sh AR Hed thet lb oH Ub Hen ays 
4 ; i rh a kas) gh aleahaiped absuicths RPMs eH aga Maha edi 2rmNNhS Het eno han nies ibaeiu mae 
} ; ) ajhalg Pasdead Heathen agaie +24 $2 ih ahntiey wie wan hekpdew-o ne 
‘ sai rt t fer ; W5O5G040 8% Sing tehannd ey cadlng eater 
4a ‘ faibe ameewpate) LANE PAM e ep ate apee oF 
f ‘ ' isu ‘ Wynd aterdpa Pha tha Wo ioe HOE MipO lm Hohe dower abst 
‘ ‘ + ad terest neh at 4 way Hoh ered bait 8 we 48 Me 
‘ iiaahameeedatl 200aey atiny Aa 5 eit aS eH aFe 
‘ ; ‘| ; Wansead aie \ Ayaevondehohy at 
/ i stah ‘ Nthi8.5¢ seta we Weasel adebence ss 
‘ jh pegasy V4 4 eh-viinhh eth ania wa inny shane bu gaaienl a@ 
its " vr cpa bay diniebn 05 herbal mh cay wepel) ene OG HN 
; VWord sengyaly * ait PHS say WR ANAM oka ee 
bled 4 { ji’ ft te ey eng) erty HSE O TN meh alt mpd tpartabon the 
b; ye t 7 ay han ha) hr 80an 9494 2% prtwrlisa geno ets oy 
‘ aig sah ays) ope hn (6 46 ane ' Neh ele ai abe lh syobaibyPrgs heer iene “ 
‘ ‘ ' ' 4 ba) AGatba. NrErertl  eamrren . ste 
4 seeneyen Handy enone lig 5p saatodaten Letoguaeemir 
prj sig . vohat Weowrrreiert tiie orca.) alk! sthan vee oie bpew sian s 
HyW hohe i hah anol ; bw As 406 aha btn ean Ane halons 561 Aad Drage rouey 
nent veihey obey oth ‘ : ‘ rere teri pees 5 steno of ehalpehe> 
eat ay ’ aioe $i) badavedawane sateder . 
Wew ‘ , aren. eras {OTP whaborsdainy pean prenecerrrrrn t 
, ' ‘ prareeis s1herayad ena eh rbeunanes renner tt peganeheret 
‘ : ‘ yi wiatberrg 46 8 wt) oe bb t pipe bap aches bois pate tr-o-o4 whe lh rt 
od a) 4s neuer ase onal 4D gienepaien ha Gabe bolsaiya Oe eeins mente ays BP orrts 
; cnet ) : ‘ vue 00% LV UR DDO ts Ay 5S aibaipe RON ay mia telee gamenelt nom eniert 
' ye . Aci avibresipon anes vib sd ue rib afer epee ee nti Hrqated prea he sens ores 
‘ ' a4 aeus ‘ yetets oka bodoibes  haye ab shogsweiaiaites miei) ehene 
Ws bea aip 2eip npeeryey rere ¥ Hane (3 be ayqthatraeg edie dy on) 
} ‘ ya gets , , vive gain g iene deeegee pede ahes Jahren be ye yaihel wares 
] NEAR aH Tree Datan lee ‘ Hoga afobsire 
* winie ; cae) Dake ob BINH ELE dag de e® 
A wi) ' wy team Weqereegth Oa celta te ue pe 
: ' ‘ , ’ ; ' Woah tends a errs Perit ct ns 
‘ nN 4 ‘ : f Wrirererercar seer tr rity, 


Ss Oe eee ee 


? 


Spy ibid. dete 
% rn 


i 


thes a Viren 
1, of the 4 he fifteenth cent 


Virgin, in. rel é} 
ifor $250. 
To Je Frankl 


n fo 
ef the foureae cent 
i ouk. “Th Bhs 
r 


“<The Magdalen, pen original % 
century pieces of. Limoges en 
‘Pierre Reymond, from a. conve 
hacia ee 


4 
‘ 

é 

q 


Ea ~- 


= ek, Garena 


oe 


a < 


By Francesco Goya 


=< 
pe 
eo 
me 
© 
ip) 
ea 
= 
fx) 
a 
— 
Or 
a 
< 
= 
= 
ee 
© 
© 
=< 
pa 
Be 
© 
aw 


No. 309. 


Collection of 


Retrospective Paintings and Art Objects 
From the XII to the XVIII Centuries 


Comprising 


Wood and Ivory Carvings, Vestments, Brocades, 
Laces, Jewelry, Enamels, Tapestries, Ret- 
ables, Altar Pieces, Reliquaries 


together with a group of 


Bes [akan and Spanish Primitives 


and 


A Remarkable Portrait, by Goya 


Being the property of 


M. Emule Pares 


of Paris and Madrid 


To be sold on Thursday and Friday Afternoons 
* and Friday Evening, February 18th and 19th, 1915 


at 


The Anderson Galleries 


On Public Exhibition from Saturday, February 6, 1915 


x 


Pee OorOLITAN ART ASSOCIATION 
Madison Avenue at Fortieth Street 
New York 


CONDITIONS OF SALE 


1. All bids to be PER LoT as numbered in the Catalogue. 


2. The highest bidder to be the buyer; in all cases of disputed bids the 
lot shall be resold, but the Auctioneer will use his judgment as to the good faith __ 
of all claims and his decision shall be final. He also reserves the right to reject ~ 
any fractional or nominal bid which, in his judgment, may delay or injuriously 
affect the sale. 


3. Buyers to give their names and addresses and to make such cash pay- 
ments on account as may be required, in default of which, the lots purchased 
to be immediately resold. 


4. The lots to be taken away at the buyer’s expense and risk within 
twenty-four hours from the conclusion of the sale, and the remainder of the 
purchase money to be absolutely paid on or before delivery, in default of which, 
the Metropolitan Art Association will not be responsible if the lot or lots be 
lost, stolen, damaged or destroyed, but they will be left at the sole risk of the 
purchaser, and subject to storage charges. 


5. To prevent inaccuracy in delivery and inconvenience in the settlement 
of purchases, no lot will be delivered during the sale. 


6. All lots will be exposed for public exhibition in The Anderson Galleries 
before the date of sale, for examination by intending purchasers, and the Metro-- 
politan Art Association will not be responsible for the correctness of the descrip- 
tion, authenticity, genuineness, or for any defect or fault in or concerning any 
lot, and makes no warranty whatever, but will sell each lot exactly as it 1s, 
WITHOUT RECOURSE. But upon receiving before the date of sale, expert opinion 
in writing that any lot is not as represented, the Metropolitan Art Association 
will use every effort to furnish proof to the contrary, and in default of such 
proof the lot will be sold subject to the declaration of the aforesaid expert, he 
being liable to the owner or owners thereof, for damage or injury occasioned 
by such declaration. 


7. Terms Casu. Upon failure to comply with the above conditions any 
sum deposited as part payment shall be forfeited, and all such lots as remain 
uncleared after twenty-four hours from the conclusion of the sale will be resold 
by either private of public sale at such time as the Metropolitan Art Association 
shall determine, without further notice, and if any deficiency arises from such 
resale, it shall be made good by the defaulter at this sale together with all the 
expenses incurred thereby. This condition shall be without prejudice to the 
right of the Metropolitan Art Association to enforce the contract with the buyer, 
without such resale. 


The Metropolitan Art Association will afford every facility for the employ- 
ment of carriers and packers by the purchasers, but will not be responsible 
for any damage arising from the acts of such carriers and packers. 


Priced Copy of this Catalogue, $1.50. 


THE ANDERSON GALLERIES 


Metropolitan Art Association 


Mapison AVENUE AT ForTIETH STREET, NEw YoRK 


TELEPHONE 7680 BRYANT 


“ORDER OF SALES 


Thursday Afternoon, February 18, 1915, at 2:30 o'clock Lots 1-143 


French and BNI ste Teal Setter che scr 9 atts. a ace gator wie ees Nos. 1- 22 
Hispano-Moresque Majolica, Sévres, etc................. 23-39 
Antique Laces—English, Flemish, Spanish, etc........... *<  40- 69 
ierent Carvings, Furniture;and Brass. .:. 00. 000...0.... + F7O-106 
Ecclesiastical Embroideries, Draperies, etc............... * IOI-143 
Friday Afternoon, February 19, 1915, at 2:30 o clock Lots 144-284 
Antique Italian and Spanish Jewelry, in Rock Crystal, 
(ROE STRONG Gn RE, a a rr Nos. 144-172 
PICICME NW ANUGCIIN lst Arun GF i.+ a. 2240 a. - hss Mecks eee tee i “173-176 
Ecclesiastical Embroideries, Velvets and other Textiles.... 177-222 
Limoges Enamels and Ancient Wood and-Ivory Carvings.. “223-259 
Wer etee abinets, Chairs and Ketables....0..2..0...... “260-284 
Friday Evening, February 19, 1915, at 8:15 o clock Lots 285-309 
Patines: | flemish aiid Spanish Primitives .......-...... Nos. 285-305 
Painting by Alexander Cimabue (1240-1302)........00... No. 306 
Pinte ye) Greco (1548-1625)... ee ew eee a 307 
ipryedoyitne “iviaster of Krankfort”,....-......... ie 308 


re sya tacit 1740-1528) bn oe ee ee ee 309 


A AND CHILD 


bue 


THE MADONN 


. 306. 


No 


ima 


By C 


NOTE 


For many years the establishments of M. Emile Pares, 
in Paris and Madrid, have been the resort of connoisseurs 
from all parts of the world. ‘There collectors, dealers, 
amateurs and agents of Museums gathered to compete 
with each other for the treasures which he continually 
brought together for their instruction and delight, and 
thence many rare works have gone forth to find a resting 
place in such gatherings as the great Morgan Collections, 
or in the Museum of Fine Arts at Boston; or the artistic 
homes scattered throughout this country. 

The situation in Europe has changed things and trans- 
formed New York into the great art mart of the world, to 
which all things are now brought. The Collection here 
shown has been selected from his treasures by M. Pares 
himself, with a view to securing a wide variety and to 
maintaining a high artistic level. Every object is guar- 
anteed as to its genuine character, and the assembly in 
its entirety has the retrospective character of a well-chosen 


private museum. 


Collection of Retrospective Art 


From the XII to the XVIII Centuries 


The authenticity of each and every article in 
this Catalogue and its genuine character as an 
original and as described in these pages is 
guaranteed by M, Emile. Paresi=thewomer 
whose knowledge and judgment of antique 
art objects are unquestioned by the collectors, 
dealers and amateurs of the world. Every 
article is offered without restoration of any 
kind whatsoever. 


FIRST SESSION 
Thursday Afternoon, February 18, 1915, at 2:30 o'clock 


French and Spanish Fans, Dresden and Sévres Porcelain, 
Talavera and Hispano-Moresque Majolica, Italian, 
Spanish and Flemish Laces, Clocks, Braziers, 
Torchéres, Columns, Armchairs, Marble 
Vases, Embroideries, Vestments, 

Brocades and Damasks 


French and Spanish Fans of the XVIII Century 


1 ANTIQUE SPANISH FAN OF THE PERIOD OF JSABELLA II. 


With mother-of-pearl sticks pierced and overlaid with gilt 
figures, swanskin mount printed with féte champétre and colored. 


2 jot aNistt LOUIS PHILIPPE FAN. 
With sticks of mother-of-pearl pierced and gilded, mount painted. 


3 ANTIOUE ENGLISH FAN OF THE XVIIT CENTURY. 


With ivory sticks pierced, swanskin mount printed and colored. 


feet ott LOUIS PHILIPPE FAN. 


With sticks of mother-of-pearl pierced and gilded, paper mount 
printed and colored. 


5 FRENCH FIRST EMPIRE FAN. 
With sticks pierced and gilded, swanskin mount printed and 
colored; the guard sticks of bronze with relief cisélé decoration 
studded with brilliants. 
11 


IO 


II 


12 


ENGLISH FIRST EMPIRE FAN, 
With ivory sticks pierced and carved, swanskin mount printed 
and colored. 


FRENCH FIRST EMPIRE FAN. 


With bronze sticks pierced, paper mount printed and colored; 
the guard sticks of bronze with relief cisélé decoration studded 
with jewels. 


ANTIQUE LOUIS XV. FRENCH FAN. 


With ivory sticks pierced, engraved and gilded, swanskin mount 
printed and colored. 


FRENCH FIRST EMPIRE FAN. 


With ivory sticks pierced and painted with flowers, swanskin 
~ mount printed and colored. 
(Damaged.) 


ANTIQUE LOUIS XV FRENCH FAN. 


With ivory sticks pierced and painted with medallions and 
scrolls, swanskin mount painted with musical figures in a land+ 
scape. 


ANTIQUE LOUIS XVI FRENCH FAN. 


With mother-of-pearl sticks pierced and gilded, swanskin mount 
printed and colored. 
(Damaged.) 


ANTIQUE SPANISH FAN OF THE PERIOD OF ISABELLA II. 


With ivory sticks carved, silk mount painted and embroidered _- 


with spangles. 


ANTIQUE SMALL LOUIS XV FRENCH FAN. 


With ivory sticks, pierced and gilded, swanskin mount painted 
with féte champétre. 
12 


sce ‘ 


sn gar ilee AiaY ee Ei 0 al 


oe eee 


14 


16 


17 


18 


10 


20 


21 


22 


ANTIQUE LOUIS XV FRENCH FAN. 


With ivory sticks, pierced, painted and gilded, swanskin mount 
painted with féte champétre. 


ANTIQUE LOUIS XV FRENCH FAN. 


With ivory sticks pierced and painted, swanskin mount painted 
with a landscape. 


ANTIQUE SMALL LOUIS XV FRENCH FAN. 
With sticks of ivory and pearl engraved and gilded, swanskin 
mount painted with pastoral scenes. 


ANTIQUE LOUIS-XV FRENCH FAN. 


With ivory sticks pierced and engraved with medallions, swanskin 
mount painted with an Autumn scene. 
(Damaged.) 


ANTIQUE LOUIS XV FRENCH FAN. 
With ivory sticks pierced, swanskin mount painted with a 
bacchanal. 


-ANTIQUE LOUIS XIV FRENCH FAN. 


With ivory sticks pierced and gilded, swanskin mount painted 
with a bacchanal. 


ANTIQUE LOUIS XV SHELL FAN. 
With sticks of blond shell, swanskin mount stippled with a 
pastoral scene. 


ANTIQUE LOUIS XV FRENCH FAN. 
With ivory sticks pierced, engraved and gilded, the swanskin 
mount painted with a pastoral scene. 


ANTIQUE LOUIS XV FRENCH FAN. 
With mother-of-pearl sticks pierced, painted and gilded, swanskin 
mount painted with historic subject. 


(Damaged.) 
13 


Dresden and Sevres Porcelain, Talavera and Hispano- 


2 


Lo) 


24 


25 


26 


27 


30 


~ Moresque Majolica 


ANTIQUE TALAVERA. MAJOLICA PITCHER OF THE XVII 
CENTURY ‘ 


Decorated with leaves and bands in yellow and green. 


Height, 8% inches. 


ANTIQUE TALAVERA MAJOLICA: PITCHER: 


Decorated with flowers and a lion rampant. Height, 94% inches. 
(Lip chipped.) 


ANOTHER SIMILAR. 


Decorated with landscape and palm-tree. 


ANTIQUE SPANISH. BRONZE ALTAR BERD OFS tat 7 
CENTURY. 


With relief decoration, the handle shaped as three Amorini. 
ANOTHER SIMILAR. 
1zNOTHER SIMILAR. 


ANTIQUE TALAVERA MAJOLICA PIT@GHERS ORS a 
CERIN CER, 


With twisted handle, sides decorated with flowers and leaves in 
yellow and blue. Height, 8% inches. 


ANTIQUE TALAVERA MAJOLICA PITCHER. 


Decorated with a Monastery coat-of-arms and with colored 
bands. : Height, 41% inches. 


ANTIQUE TALAVERA MAJOLICA PITCHER OF THE XVII 
CENTURY: 
With twisted handle, the sides decorated with coat-of-arms and 
bands in color. Height, 14 inches. 
14 


ee ee ee ee a, Se ew Us 


32 


33 


BE: 


36 


37 


38 


39 


ANTIQUE TALAVERA MAJOLICA PITCHER OF THE XVII 

CENTURY. 
Decorated with landscape and horse and bandsincolor. (Cracked.) 
Height, 12 inches. 


ANTIQUE TALAVERA MAJOLICA PITCHER OF THE XVII 
CENTURY. 

With twisted handle, the sides decorated with character heads 

and bands in black and yellow. Height, 12 inches. 


ANTIQUE LOUIS XVI DRESDEN TABLE JARDINIERE. 


» With fluted edge, leaf handles, the sides decorated with sprays 
of flowers. 


Pero ean yen MAJOLICA PITCHER OF THE XVII 
CENTURY. 


Decorated with landscape in blue and with yellow bands. 
Height, 10 inches. 


ANTIQUE LOUIS XVI DRESDEN TABLE JARDINIERE. 


With fluted edge, rose and gold border, the sides decorated with 
fruits and foliage. 


PAIR OF ANTIQUE SEVRES PORCELAIN VASES OF THE 
Dav GENTURY. | 

With decoration of gold and silver, in black Lac du Chine. Date 

1780. Height, 9 inches. 


(See Illustration.) 


ANTIQUE HISPANO-MORESQUE PLAQUE OF THE XVI 
CENTURY. 


Decorated in blue and metallic lustre. Diameter, 19% inches. 
(See Illustration.) 


ANTIQUE HISPANO-MORESQUE PHARMACY JAR, OF 
Tar XV CENTURY, 
With blue and gold decoration in metallic lustre. 


From a convent at Calatayud, Spain. Height, 10% inches. 
(See Illustration.) 


15 


avi AOVINAVHd 


ANOSAUOW 
ANOLLNV 


ONVdSIH 
‘6£ ‘ON 


16 


Spanish, Italian and Flemish Laces, Marriage Communion 


Cloths, Tabliers and Altar Scarfs 


40. 


4I 


42 


43 


44 


45 


46 


47 


48 


49 


50 


Pe oUire sh ANISH LACE: CHALICE (PALL OF THE 


avi CENTURY. 


ANOTHER SIMILAR. 


ANTIQUE SPANISH XVI CENTURY MARRIAGE COM- 


MUNION CLOTH. 


ANTIQUE SPANISH LACE ALTAR FRONT OF THE XVI 


CENTURY. 


The design showing warriors on horseback. 


ANTIQUE XVI CENTURY MARRIAGE 
ClO, 


Of lace and drawn-work. 


ANTIQUE CHALICE PALL. 


Flemish lace of the seventeenth century. 


ANTIQUE XVI CENTURY MARRIAGE 
CEOAE. 


Embroidered in _ blue. 
ANTIQUE XVI CENTURY MARRIAGE 
PAX TH. 


Of Venetian guipure and embroidery. 


ANOTHER SIMILAR. 


COMMUNION 


COMMUNION 


COMMUNION 


ANTIQUE SMALL SPANISH TABLE COVER OF THE XVI 


SENTURY. 


ANTIQUE SPANISH MARRIAGE COMMUNION CLOTH OF 


mn xXVI-CENTURY. 
The design showing the figure of David. 
17 


No. 61.. TABLE ‘COVER OF VENETIAN GUIPURE OF XViger a ie 


18 


52 


53 


54 


5g 


60 


61 


ANTIQUE ITALIAN LACE: ALTAR, FRONT OF THE XVI 
CENTURY. 


Combined with drawn-work. Length, 5 yards. 


ANTIQUE SPANISH LACE TABLIER OF THE VIRGIN, OF 
eTHE XVI CENTURY. 


Peeve PUEMISH LACE CHALICE PALL OF THE XVII 
CENTURY. 


ANTIQUE ENGLISH POINT LACE OF THE XVII CENTURY. 
Length, 34% yards; width, 4% inches. 


Pee eet EVs ACK FLOUNCE OF THE XVII 


CENTURY. —_ Length, 2 yards, 20 inches; width, 19 inches. 


ANOTHER SIMILAR. 


ANOTHER - SIMILAR. 


ANTIQUE LOUIS XIV FLEMISH LACE FLOUNCE. 
The design showing fleurs-de-lys, scrolls and foliage. 
| Length, 3 yards, 24 inches; width, 24 inches. 


From a church at Toledo. 


mee meraNGlisl LACE FLOUNCE OF ‘THE TIME: OF 
LOUIS <XTV. 

From a Cardinal’s Robe. The design showing shells, vases of 

flowers and scrolls. Length, 3 yards, 6 inches; width, 24 inches. 


ANTIQUE FLEMISH LACE FLOUNCE. 
From the Robe of a Cardinal. 
, Length, 4 yards, 12 inches; width, 25 inches. 


From a church in Valencia. 


ANTIQUE TABLE SCARF OF XVI CENTURY, VENETIAN 
GUIPURE. 

Composed of net-work of squares, each of different pattern, 

alternating with geometrical designs of open lace-work. 
Length, 72 inches; width, 51 inches. 

From the Palace of the Bishop of Valencia. 
(See Illustration. ) 
19 


Sk, 


SEER 


Sea 


Bey 
ee 


ae 


a 
Ais 


A 
Seek 


Iss ce x 
Soe 


os 


20 


(e 
oO 
— 
oe 
an 
oO 
ae 
(=) 
P41 Ae 
> Bi 
i= 
ee 
(> Om 
Oa 
fx 
7 
SZ 
= 
, la 
[Ga 
2g 
= 
C= 
4 Pm 
O na 
(x) 
ae) 
7, Se 
<= Au 
= 
fa fa 
Zz. a 
(2) Aas 
> 8 


co ot 
\O \O@ 
66 
Z. 2m 


62 


63 


64 


65 


66 


67 


68 


69 


ANTIQUE FLOUNCE OF POINT DE MILAN LACE. 
From a Bishop’s Robe. Length, 4 yards; width, 11 inches. 


ANTIQUE VENETIAN ROSE POINT LACE FLOUNCE. 
Period of Louis XV. Length, 4 yards, 13 inches; width 11 inches. 


From the collection of the Duchess of Oporto. 
(See Illustration.) 


Poe reyENETEAN ROSE POINT LACE OF LOUIS XV 
PERIOD. 


With flowers in high relief. This lace matches the flounce. 
Length, 2 yards, 26 inches; width, 3 inches. 
From the collection of the Duchess of Oporto. 
(See Illustration.) 


PIVITOUPTIAMIAN LACE FLOUNCE. 


From a Bishop’s Robe, showing a design of vases of flowers and 


scrolls. Width, 25 inches. 


PeitOUreitatiaN XVI CENTURY ALTAR FRONT. 


Of linen, embroidered with birds, flowers and animals in silk. 


ANTIOUE BRUSSELS LACE FLOUNCE OF THE LOUIS XIV 
PERIOD. : Length, 3 yards; width, 15 inches. 


From a convent at Seville. 
(See Illustration ) 


ANTIQUE ENGLISH POINT LACE FLOUNCE OF THE XVII 
CENTURY. 


From a Bishop’s Robe, showing designs of flowers and scrolls. 
Length, 1 yard, 29 inches; width, ro inches. 


ANTIQUE XII CENTURY POINT DE MILAN LACE. 
From a Bishop’s Robe. Length, 3 yards, 6 inches; width, 13 inches. 


21 


AONNOT AOVT HSINATA ANOLLNV 


‘LQ ‘ON 


N 
N 


Braziers, Benches, Clocks, Torchéres, Columns, Armchairs, 


70 


7i 


72 


73 


74 


75 


76 


77 


~ and two Fine Sienna Marble Vases 


SMALL ANTIQUE SPANISH BRASS BRAZIER OF THE XVI 
CENTURY. 


With ball and claw feet. Height, 21% inches. 


ONE HUNDRED AND TWENTY-FIVE SMALL ANTIQUE 
AVEORA TILES. 


TWO ANTIQUE CARVED WOOD COLUMNS OF THE XVII 
CENTURY: 


The shafts carved with leaves and grapes; bases and capitals 
carved and gilded. Height, 44 inches. 


LADY’S ANTIQUE FRENCH MAHOGANY DESK, LOUIS XVI 
PERIOD. : 


With seven drawers and two glazed doors, folding writing-shelf, 


marble top with brass rail. 
Signed by Murro, Paris, 1778. 
[ss (See Illustration.) 


ANTIQUE SPANISH BRASS BRAZIER OF THE XVI CENTURY. 
With feet shaped as dolphins. Diameter, 24 inches, height, 17 inches. 


ANTIQUE ENGLISH MANTEL CLOCK OF THE LOUIS xV 
PERIOD: 

Finished in gold and black lacquer, with bronze mountings. 

Peter Higgs, maker, London. Height, 19 inches. 


THREE LOUIS XVI ARMCHAIRS. 


The modern frames carved and gilded, covered with genuine 
antique petit point tapestry, showing a design of birds and flowers 


on a gray ground, 


From a chateau at Fontainebleau. 
(See Illustration.) 


ANTIQUE LOUIS XVI MANTEL CLOCK. 
Of marble and bronze, the dial supported by gilt bronze female 
figure and Cupid, after Falconet. Rocquet, Paris, maker. 
Height, 151% inches. 
(See Illustration.) 
23 


No. 37. SEVRES VASES No. 270. 
No. 73. LADY’S WRITING DESK ANTIQUE ITALIAN COFFER 
. (On top of the column) 


24 


No. 76. LOUIS XVI ARMCHAIR 


78 TWO SMALL ANTIQUE SPANISH CARVED WOOD COLUMNS. 


With spiral shafts entwined with leaves and grapes and carved 
capitals finished in gold and polychrome. Height, 43 inches. 


79 ANTIQUE SPANISH BRASS BRAZIER OF THE XVI CENTURY. 
With scroll feet. Diameter, 23 inches. 


80 THREE ANTIQUE SPANISH CARVED WOOD COLUMNS 
OF THE XVI CENTURY. 


The shafts entwined with wreaths and grapes; the capitals carved 
and gilded. | Height, 20 inches. 


SI 


83 


84 


85 


No. 77. LOUIS XVI MANTEL CLOCK 


ANTIQUE LOUIS XVI MANTEL CLOCK. 
Of marble and bronze; the dial surrounded by a laurel wreath 
supported by Amorini on a white marble base. 
Length, 13 inches; height, 14% inches. 


ANTIQUE LOUIS XVI ALABASTER STATUE TE: 


A child kneeling in prayer on a cushion base. Height, 12 inches. 


From a convent at Seville, Spain. 


MANTEL CLOCK OF THE DIRECTORY PERIOD. 
Of bronze and marble, showing two seated figures, reading; 
the top crowned by a spread eagle; the base of green marble 
overlaid with sphynx and scrolls in gilt bronze. 
Length, 34 inches; height, 20 inches. 


FOUR ANTIQUE SPANISH CARVED WOOD COLUMNS OF 
TOESEXVII CEN SURG | 

With relief decoration; carved capitals; gilded. 
Height, 26 inches. 


ANTIQUE ENGLISH MANTEL CLOCK OF THE LOUIS XV 
PERIOD. 
The case finished in red lacquer and gold with bronze mountings. 
William Creak, London, maker. Height, 20 inches. 
26 


86 


87 


88 


89 


90 


gl 


92 


93 


94 


95 
96 


TWO MASSIVE ANTIQUE CARVED WOOD. ENGLISH CON- 
SOLE BRACKETS. 


Of the eighteenth century. Of Mahogany, carved with figures 
shaped as Amorini. Height, 26 inches. 


ei OTrER PAIR SUMILAR. 


TWO ANTIQUE SPANISH CARVED WOOD CANDLESTICKS, 
GILDED. Height, 57 inches. 


From a convent at Lisbon. 


ANOTHER PAIR. 


From the same source. 


POU SPOR] UGEYSE HALL CHAIR OF THE XVII 


CENTURY. 
With high back and arms; seat and back covered with sculptured 
leather, finished with brass-headed nails and brass pinnacles. 


ANOTHER. 


Companion to the preceding. (One arm restored.) 
Both came from a noble family at Oporto. 


PAIR OF ANTIQUE CARVED WOOD TWISTED COLUMNS 
OF THE XVII CENTURY. 

The stems entwined with leaves and flowers, finished in color 

on a gold ground; capitals carved and finished in polychrome 

and gold. Height, 50 inches. 


From a convent at Valladolid. 


ANTIQUE FRENCH LOUIS XIV ARMCHAIR. 
The frame carved with shells and scrolls; seat and back covered 
with crimson damask. 


ANOTHER SIMILAR. 
ANOTHER SIMILAR. 


TWO LARGE ANTIQUE SIENNA MARBLE VASES, ITALIAN, 
Oren XViIll CENTURY. 
Urn-shaped, the base gadrooned, having a frieze of figures in high 
relief, representing a Roman Dance. Masque handles. 
Height, about 4 feet, 6 inches. 


Museum piece and very unusual. From a chateau at Fontainebleau. 
(See Illustration.) 


27 


97 ANTIQUE SPANISH CHURCH BENCH OF THE XVII 
CEN TURN: 


Of oak, with panelled and spindle back and arms. 
Length, 54 inches. 


98 ANOTHER SIMILAR. 


Both are from a convent in Granada. 


No. 96. PAIR SIENNA MARBLE VASES 
99 SIX ENGLISH ANTIQUE SIDE CHAIRS OF HEPPLEWHITE 2 
DESIGN. 4 


Of mahogany, the backs carved, having slip seats covered with 
red damask. 


too FOUR MORE. 


28 


Antique French and Italian Vestments, Brocades, Court 


IOI 


102 


103 


104 


10S 


106 


107 


108 


109 


IIo 


III 


Costumes, Bed Covers, Mantles and Tabliers 


ANTIQUE ITALIAN COPE. . 
Of brocade trimmed with silk fringe. 


ANTIQUE LOUIS XVI FRENCH BED COVER. 
Of yellow silk with green valance, lined. 
Length, 75 inches; width, 61 inches. 


ANTIQUE WALL -HANGING OF ITALIAN CRIMSON 
DAMASK. 


ANTIQUE LOUIS. XVI FRENCH SMALL TABLE COVER. 
Of yellow broché. Length, 71 inches; width, 51 inches. 


ANTIQUE ITALIAN XVI CENTURY CHASUBLE. 
Of green damask trimmed with gold gimp. 


ANTIQUE LOUIS XVI COURT COAT. 


Of mauve silk embroidered with flowers in French point chenet. 


HALF A CHASUBLE OF ANTIQUE CRIMSON VELVET. 


The orphreys embroidered in gold point on crimson velvet, with 
three panels of Saints. 


ANTIQUE LOUIS XVI BROCHE BED COVER. 


In yellow, with valance. 


ANTIQUE TABLIER OF THE. VIRGIN, OF LOUIS XVI 
PERIOD. 


Of white satin embroidered in a pattern of birds and flowers. 


ANTIQUE CRIMSON VELVET WALL PANEL. 


With medallion of appliqué embroidery, trimmed with silver 
gimp and lined with crimson silk. 
Height, 80 inches; width, 65 inches. 


ANTIQUE LOUIS XIV ITALIAN BED COVER. 
In yellow and white damask. 
29 


Dr 


hs 


116 


117 


118 


119 


120 


121 


122 


123 


ANTIQUE SMALL. XVI CENTURY CHURCH BANNER. 


Of crimson velvet trimmed with yellow silk fringe. 
ANTIQUE BED COVER OF ITALIAN CREAM BROCADE. 


ANTIQUE LOUIS XVI ITALIAN COPE. 


Of brocatelle figured with gold and silver, having a green band 
trimmed with silver gimp. 


ANTIQUE CHASUBLE OF CRIMSON DAMASK. 


The orphreys of crimson velvet embroidered in color and gold, 
with five medallions. 


ANTIQUE ITALIAN LOUIS XIV TABLE COVER. 
Of yellow damask, lined with blue silk and trimmed with fringe. 


ANTIQUE ALTAR FRONT OF LOUIS XIV PERIOD. 
Of French yellow silk brocaded with silver, trimmed with gold 
gimp. 


ANTIQUE LOUIS XV ITALIAN BED COVER. 
Of blue damask. 


ANTIQUE LOUIS XVI COURT COSTUME. 


Consisting of coat of green cut velvet, embroidered with flowers; 
knee-breeches to match and waistcoat of pale blue satin, em- — 
broidered in point chenet. | 


ANTIQUE LOUIS XIV BANDEAU OF TAPESTRY. 


In French petit point. Scalloped and trimmed with fringe. 
Length, 73 inches; height, 18 inches. 


ANTIQUE LOUIS XV TABLE COVER. 
Of Italian yellow damask. Length, 71 inches; width, 51 inches. 


ANOTHER SIMILAR. 


ANTIQUE COURT SUIT OF GREEN CUI VERE. 
With white satin vest embroidered in spangles and flowers. 
30 


124 


{27 


128 


129 


130 


$31 


132 


134 


135 


136 


feat nIN tT TOUR CANOPY: OF THE- END’ OF THE XV 
CENTURY. 


Of crimson damask, the border of sixteenth century appliqué 
embroidery. Length, 104 inches; width, 87 inches. 


ANOTHER SIMILAR. 


ANTIQUE LOUIS XIV ITALIAN BED COVER. 
Of yellow damask. 


ANTIQUE MANTLE OF THE VIRGIN OF LOUIS XV PERIOD. 
Of French gold and silver brocade trimmed with gold lace. 


From a convent at Valladolid. 


ANTIQUE CHASUBLE OF GREEN DAMASK. 


French, seventeenth century, trimmed with yellow gimp. 


ANTIQUE LOUIS XIV BED COVER. 
Of green French damask. 


EIGHTEEN YARDS OF ANTIQUE CRIMSON DAMASK. 


In two pieces. One, 3 yards and 13 inches long, the width 
formed of three breadths of 24 inches; the other, 4 yards long, 
the width formed of two breadths of 24 inches each. 


ANTIQUE ITALIAN BED COVER OF GOLD BROCADE. 


TWENTY-TWO AND ONE-HALF YARDS OF ANTIQUE 
ITALIAN LOUIS XIV YELLOW DAMASK. 


ANTIQUE ITALIAN XVI CENTURY BED COVER. 
Of rose and old gold damask. 


ANTIQUE LARGE MANTLE OF THE VIRGIN, OF LOUIS 
XV PERIOD. 


Of salmon silk brocaded with silver. 
ANTIQUE LOUIS XIV FRENCH BROCADE BED COVER. 


ANTIQUE LOUIS XIV TABLE COVER. 
Of green damask with silk fringe. 
31 


137 


138 


139 


140 


I4I 


142 


143 


ANTIQUE LOUIS XVI FRENCH BED COVER. 
Of pale blue silk, with valance. 


TWENTY-SIX YARDS OF ANTIQUE LOUIS XIV FRENCH 
DAMASK. 


‘(4 pieces.) 


ANTIQUE TABLIER OF THE VIRGIN, FRENCH, LOUIS 
XV PERIOD. 
Of blue brocade. 


ANTIQUE LOUIS XIV BED COVER. 
Of French yellow damask trimmed with silk fringe. 


ANTIQUE. LOUIS; XVE- COURT “COA 


Of olive gros-grain silk embroidered with flowers. 


ANTIQUE FRENCH LOUIS XVI BED COVER OF YELLOW 
DAMASK. 


ANTIQUE ITALIAN BED COVER OF GREEN TEXTILE - 
FABRIC. | | 


Known as “‘tissu.”’ 


32 


SECOND SESSION 
Friday Afternoon, February 19, 1915, at 2.30 o'clock 


Jewel Caskets, Statuettes, Tapestries, Jewelry, Reliquaries, 
Crosses, Limoges Enamels, Ivory Carvings, Vestments, 
Canopies, Altar Fronts, Antique Red Velvet, Wood 
Carvings, Cabinets, Escutcheons, Fonts, Primi- 
tive Paintings of the Flemish, Italian and 


Spanish Schools, Antique Retables and 
a Remarkable Portrait, by Goya 


144 NEST OF ANTIQUE SPANISH WEIGHTS OF THE XVII 
CENTURY. 


In bronze case; with carved bronze figures. 


145, 1|WO ANTIQUE CHURCH CANDLESTICKS OF THE XVII 
| CENTURY. 


Of wrought iron; with scroll decoration. Height, 34 inches. 


146 ANTIQUE SPANISH LEATHER JEWEL CASKET OF THE 
XVII CENTURY. | 
With wrought-iron mounts gilded. 


147 ITALIAN SMALL ANTIQUE LEATHER JEWEL CASKET OF 
THE XVI CENTURY. 
Blind-tooled; with drop front showing eight drawers. 
Height, 64% inches. 


148 ANTIQUE ITALIAN JEWEL CASKET OF THE END OF THE 
XVI CENTURY. 
Encrusted with ivory; having two doors which opening reveal 
an interior fitted with ten drawers and a central compartment. 
The whole set with plaques enamelled in color. With bottom 
drawer and small coffer in the top. 
Height, 21 inches; width, 18 inches; depth, 11 inches. 


From a noble family at Valladolid. 
(See Illustration) 


33 


34 


149 ANTIQUE XVI CENTURY ITALIAN JEWEL CASKET. 


Covered with leather tooled in gold; having brass handles and 
secret drawer. Length, 12 inches; height 7 inches. 
From a Spanish church at Lerida, Catalonia. 


Pome OUR FRENCH CAEN STONE STATUETTE OF THE 
poy CEN TURY.: : 


Figure of Saint holding two doves. Height, 20% inches. 


From a church at Valogne, France. 
(See Illustration.) 


151 ANTIQUE CARVED WHITE MARBLE FIGURE OF THE 
XIV CENTURY. 

Representing “The Madonna,”’ with detached canopy; both 

mounted on red velvet panel. (Repaired). Height, 221% inches. 


From a convent at Pampeluna. 


No. 150. ANTIQUE STATUETTE No. 267. ANTIQUE MARBLE 
OF THE XVI CENTURY STATUETTE OF THE XV CENTURY 


30 


; 
: 
| 


Jewelry, Relquanes and Crosses from the XV to the 
XVIII Centuries 


152 ANTIQUE LOUIS XVI. SILVER BROOCH. 


Set with rose diamonds and emeralds. 
(See Illustration.) 


~) 


153. SMALL SPANISH ANTIQUE: PENDANT: FRAMESORS ae 
VE CENTORA: mee 


Of copper, gilded and enamelled; glazed in rock crystal. 


154 ANTIQUE SPANISH FLAGON OF THE XViGi xe 


Of silver decorated with enamel. 


135s ANTIQUE RELIQUARY OF THE EARLY XVII CENTURY. 


Rock crystal, cut in intaglio with representation of the Virgin. 
Height, 3 inches. 


156 ANTIQUE SPANISH BISHOP’S CROSS OF THE END OF THE 
DNISCR IN DU RY: 


Of rock crystal and enamelled gilt metal, set with coral. 


Height, 51% inches. 
From a convent.in Seville. 
(See Illustration.) 


157. ANTIQUE ITALIAN PENDANT RELIQUARY OF THE XVI | 
CENTURY | 
Of gold and enamel, containing a boxwood carving of the crucifix; 


the reverse side showing Christ bearing the Cross. 


From a convent at Cadiz. . 


158 ANTIQUE ITALIAN SMALL XVI CENTURY FLAGON. 


Of boxwood, carved with figures. (Imperfect.) 
From a convent in Madrid, 


159 ANTIQUE. SMALL “SPANISH PLAQUE Gt ee: 
CENTURY. 


Of rock crystal and gold, with figures in enamel representing 
Angels presenting the Holy Sacrament. 
From the Cathedral of Pampeluna. 
(See Illustration.) 


36 


LOUIS XVI BROOCH 

BISHOP’S CROSS 

ANTIQUE SPANISH PLAQUE 

ANTIQUE ITALIAN PENDANT, WITH SIX ENAMEL PLAQUES 
ANTIQUE SPANISH PENDANT 

ANTIQUE ITALIAN PENDANT OF THE XVI CENTURY 
ANTIQUE ITALIAN PENDANT OF THE XVI CENTURY 


ae 
3/7 


160 


161 


162 


163 


164 


165 


166 


167 


ANTIQUE ITALIAN PENDANT OF THE XVI CENTURY, 
Of gold and enamel, having six plaques showing scenes from the 
Life of Christ. 


From the Duc de Tamarit, Catalonia. 
(See Illustration.) 


ANTIQUE SMALL ITALIAN WOOD CROSS OF THE XVI 
CENTURY. 
Studded with symbols of the Passion in gold and enamel. 
(Repaired.) 


From a convent at Guadalajara. 


ANTIQUE SPANISH PENDANT OF THE END OF THE XVI 
CENTURY. 
La Vierge de Pilar in rock crystal, gold and enamel. 


From a convent in Saragossa. 
(See Illustration.) 


ANTIQUE SPANISH BISHOP’S CROSS OF THE END OF THE 
AVI CENTURY. 


Of gold and enamel. 
From a church at Madrid. 


ANTIQUE ITALIAN PENDANT OF THE XVI -CENTURY. 
A lion of gold and enamel, having five pendant pearls. 
(See Illustration.) 


ANTIQUE ITALIAN PENDANT RELIOQUARY OF THE XVII 
CENTURY. 
Of gold, rock crystal and enamel; showing the Crucifixion. 


From a convent at Cordova. 
(See Illustration.) 


ANTIQUE ITALIAN GOLD RING OF THE VIRGIN, OF THE 
XVI CENTURY. 


Enamelled and set with rock crystal. 
From a convent in Madrid. 


ANTIQUE SPANISH GOLD .RING SET WITH SMALL DIA- 
MONDS OF THE XVII CENTURY. 


38 


168 ANTIQUE ITALIAN PENDANT OF THE XVI- CENTURY. 
Of gold and enamel, the design symbolizing the Holy Ghost; 
set with emeralds and baroque pearls. 


From a convent in Seville. 


Too, UNTIOQUE SPANISH SILVER GILT CHALICE OF THE XV 


CENTURY. 
With inscription in Spanish showing it was given by Paul to the 
Carmelite Monks at Salamanca. Height, 10 inches. 


170 ANTIQUE LOUIS XV ETUI. 
Of ivory, with gold mountings, the sides set with two small 
miniature paintings. 


171 ANTIQUE SPANISH BISHOP’S CROSS OF THE END OF THE 
BV ISCENTURY- 
Of silver gilt; showing on one side the Crucifixion in relief, and 
on the other the Virgin. 


From a convent in Salamanca. 


172 SMALL FRENCH ANTIQUE MAROQUETRY BOX. LOUIS 
XV PERIOD. 
Top, bottom and sides decorated in marquetry, with pictures 
after Teniers. Interior lined with gold. 
An exceptional curio of great value. From an old family at Valladolid, Spain. 


173, ANTIQUE MANUSCRIPTS. Spanish Patent of Nobility. 
Manuscript of 88 leaves of thick vellum. Patent of Nobility granted 
1593. With four miniatures (two being full-page), very finely painted 
in colors and gold, and many large initials also in gold and colors. Folio, 
in the original red velvet binding, but worn. Granada, 1593. 


One of the miniatures is a finely painted portrait, full length, of Philip II, seated on 
his throne. The date of this manuscript is only five years after the sailing of Philip’s 
famous “Invincible Armada’; and Maurice of Nassau was still fighting Philip IT in the 
war for the Independence of the Netherlands at the time it was written. 

From a noble family at Valladolid. 


174 ANTIQUE MANUSCRIPT. Persian manuscript of 142 (should 
be 143) leaves, written in red and black, within gold borders, and with 
headings and rules in gold. The first two pages illuminated in gold and 
colors, and with seven additional full-page drawings in gold and colors; 
of a high quality of Persian art. S8vo., in the original Persian leather 
binding painted and gilded. Saec. XVI. 

39 


175 ANTIQUE MANUSCRIPT. ‘Hours of the Virgin” in Latin. 
Neatly written manuscript, on 118 leaves of vellum, including the Calendar. 
Illuminated in gold and colors with nine historiated initials, with figures, 
and numerous other initials. Probably of Norman-English workmanship, 
about the thirteenth century. 16mo, in contemporary leather, stamped 
with a twisted cable decoration. The binding, of same epoch, is rubbed, 
a leaf is lacking in the Calendar, and some of the pages are soiled in the 
margin from constant usage. Saec. XIII. 


An interesting manuscript, the character of the designs in the historiated initials 
showing early English influence. 

St. Alban and some other English saints occur in the Calendar. The fly-leaves 
contain writing in early Spanish. 

From a convent at Salamanca. 


176 ANTIQUE MANUSCRIPT. Hore Beate Marie Virginis 
secundum usum Romanum, cum Calendario. Manuscript finely written 
on 158 leaves of vellum, in Flanders, in the 15th century. Illustrated 
with one full-page miniature, 16 historiated initials, 22 full-page borders 
(one in camaieu), and hundreds of small initials in gold and colors. “Two 
or three of the illuminations have been rubbed, but otherwise the manu- 
script is in good condition. 16mo, in contemporary stamped leather 
binding (worn), green silk fly-leaves. Saec. XV. 


A manuscript of very high quality of work, and evidently written for a member of 
a noble family whose portrait is probably seen in the historiated initial representing the 
Adoration of the Magi. The illuminations are of exquisite drawing and coloring, many 
unusual shades of delicate color being employed, especially in the initials. The full-page 
borders are adorned with butterflies and insects, birds, flowers, jewels, fruits, etc., and 
a few have architectural or renaissance designs. 

From a convent at Seville. 


40 


4 
P| 
> 
| 


Hispano-Moresque Fabrics, Vestments, Brocades, Canopies, 


177 


178 


179 


180 


181 


182 


183 


184 


185 


186 


Benediction Cloaks, Altar Fronts, and Quantities 
of Sixteenth Century Red Velvet 


ANTIQUE CHASUBLE OPSTHE Xx VISCE NEU RY: 


Of crimson velvet; embroidered in six medallions of figures in 
color and gold, and bands of embroidery. 


PiIpCr OR xXViIPCENTURY ANTIQUE CRIMSON VELVET. 


With circular piece cut from the center. 
Length, 334 yards; width, 11% yards. 


ANTIQUE LOUIS XIII ALTAR FRONTAL. 
With extra sides and band of cloth of silver; with appliqué 
embroidery in color and gold. (4 pieces.) 


ANTIQUE LOUIS XV BED COVER. 


Of rose brocade. 


ANTIQUE XVI CENTURY CHURCH BANNER. 
Of crimson velvet, embroidered with medallion in applique 


and trimmed with silver lace. 
From a church in Burgos, Spain. 


THREE AND ONE-QUARTER YARDS OF XVI CENTURY 
ANTIQUE CRIMSON VELVET. 


EIGHT YARDS OF XVI CENTURY ANTIQUE CRIMSON 
MELVET, 


Formed of smaller pieces joined. 


ANTIQUE DALMATIC OF THE END OF THE XV CENTURY. 
Of Venetian brocade bouclé with gold thread. 


ANTIQUE RED VELVET OF THE END OF THE XVII 
CENTURY. 


One piece containing three breadths, each 3 yards long. 


ANOTHER LOT. 
One piece containing same amount. 
41 


~ 


ot ee oa 
Poh bee By f vans ; 
~ apa 7 = Ps 2 % “i < n ae a : 
é 5 bles - ss 7 - - ‘ ye ' ~ ‘ 
et dies ik ae Sah Seis / LENT 
een Seem Dy seemed mao sarossetiae Seas rine of 5 a _ 
ite, By peosogees st “ nh geo indi ei 


| ) BA gL ae 


SE 


be 
pe 
= 
= 
Z 
ea 
O 
> 
* 
ica 
an 
EH 
Gy 
‘eo 
ica) 
AY 
O 
9; 
(x) 
) 
fe) 
‘a 
Zz, 
< 
< 
—- 
= 
S 
ey 


Poe LIOUE CHASUBLE OF THE XVII. CENTURY. 


Of white silk brocaded in a pattern of birds, shells, castles, books 
and animals; trimmed with gold gimp. 


188 ANTIQUE BENEDICTION CLOAK OF THE XVI CENTURY. 


Of Italian crimson damask; trimmed with fine gold lace of the 
period. 


Pome Ne AND -ONE-HALE YARDS OF XVI CENTURY 
ANTIQUE CRIMSON VELVET. 


Formed of several pieces. 


Poo TIOUE TTALIAN PABLE COVER OF THE XVI CENTURY. 


Of crimson damask. Length, 70 inches; width, 66 inches. 


1901 ANTIQUE ITALIAN CANOPY OF THE XVI CENTURY. 


Of crimson brocade; with silk fringe. 
192 ANTIQUE CRIMSON VELVET OF THE XVI CENTURY. 
193. ANOTHER LOT SIMILAR. Together, 2034, yards. 


194 ANTIQUE LOUIS XIV BENEDICTION CLOAK. 


Of Italian crimson and gold brocade; trimmed with fringe. 


Pee OUR, COPE OF ITALIAN VELVET OF THE: XV 
CENTURY. 


(See Illustration.) 


195 TWENTY YARDS OF XVII CENTURY ANTIQUE CRIMSON 
VELVET. 


In one piece. 
From the church at Valladolid. 


196 ANTIQUE XVI CENTURY WALL HANGING. 


Of ivory satin, embroidered in applique. 
Height, 36 inches; width, 27 inches. 


foyer IQUE’ RED VELVET’ OF THE END OF THE XVI 
CENTURY. 
One piece containing four breadths. Each 31% yards long. 
43 


198 ANOTHER LOT. 


One piece containing same amount. 


199 ANOTHER: LOT. 


One piece containing same amount. 


200 ANOTHER LOT. 


One piece containing same amount. 


20% »ANOTHER LOT. 


One piece containing same amount. 


202 ANOTHER LOT. 


One piece containing same amount. 


| 
| 


203 ANOTHER. LOT. 


One piece containing same amount. 


204. ANOTHER LOT. 


One piece containing same amount. 


No. 269. TWO ANTIQUE MARBLE LIONS OF THE XIV CENTURY 
44 


205 


206 


207 


208 


No. 206, ANTIQUE COPE OF VIOLET VELVET 


ANOTHER LOT SMALLER. 
One piece containing four breadths. Each 14 yards long. 


Ppei@ureCOPE OF THE XVI-CENTURY. 


Of Venetian violet cut velvet. 


From a convent at Saragossa. 
(See Illustration.) 


ANTIQUE ITALIAN CHASUBLE OF BLUE VELVET OF THE 
Pier THE XVI CENTURY, 


Figured with gold; the center of violet damask and trimmed with 
gold gimp. 


Peeour PABLE MAT OF PERSIAN VELVET. OF THE 
mov CENTURY, 


Wrought in a design of cats, flowers and scrolls, and bordered 
with lace of the eighteenth century. 
Length, 64 inches; width, 22 inches. 


From a convent in Granada. 
(See Illustration.) 


45 


No. 208. 


ANTIQUE TABLE MAT 


46 


—— 


209 


210 


211 


212 


Bit 


214 


215 


217 


pi TIOURSIEALIAN COPE OF THE XVI’ CENTURY. 


Of green, red and gold; showing designs of crowns, hunters, 
dogs and scrolls. 
From a-convent at Lyon. 


(See Illustration.) 


ewer RED VELVET OF THE END OF THE. XVI 
CHILURY. 


One piece containing six breadths. Each 4 yards long. 


ANOTHER LOT. 
One piece containing five breadths. Each 4 yards long. 


ANOTHER LOT. 


One piece containing four breadths. Each 3 yards, 3 inches long. 


ANOTHER LOT. 


One piece containing six breadths. Each 3% yards long. 
All from a church at Valladolid, Spain. 


ANTIQUE FRAGMENT OF A PERSIAN RUG OF THE 
XVI CENTURY. 
In red and blue. 


FRAGMENT OF ANTIQUE RUBY HISPANO-MORESQUE 
CUT VELVET, OF THE XIV CENTURY, 


Length, 27 inches; width, 7 inches. 


ANTIQUE MANTLE OF THE VIRGIN, ITALIAN; EARLY 
XVI CENTURY. 
Of violet Genoese velvet; wrought in a design of flowers, scrolls 
and Amorini. 


ANTIQUE HISPANO-MORESQUE COPE BAND OF THE 
XIV CENTURY. 
The fabric shows a design of lions wrought in silver thread, with 
Arabic inscription on an old rose ground. 
Length, 60 inches; width, 5 inches. 
From a convent in Burgos, Spain. 
(See Illustration.) 


47 


ee 


AYAINAO UX AHL 10 GNVE ANOSAYOW-ONVdSIH 
CNV AdOOD ANOSAAOW-ONVdSIH ANOILNV 


AdOO NVITVLI ANOLLNV 


‘O77 “ON 
‘LIZ ‘ON 
607 ‘ON 


48 


218 


219 


220 


221 


ANOTHER SIMILAR BUT SMALLER. 


Length, 20 inches; width, 20 inches. 


From a convent in Burgos. 


A FRAGMENT SIMILAR. 


Length, 41% inches; width, 3% inches. 


ANTIQUE HISPANO MORESQUE HORSE BAND OF THE 


pale ENTURY.’ 


Of “‘tissu”’ wrought with silver thread and set with Limoges 


enamels and rock crystals. 


Length, 21 inches; width, 34% inches. 


From the Cathedral at Oviedo. 


(See Illustration.) 


TWO ANTIQUE FRAGMENTS OF TOLEDO FABRICS OF 


THE XVI CENTURY. 


Showing heraldic devices 
on a black background. 


of the Cardinal of Santiago, in gold 


49 


222 


223 


224 


226 


227. 


228 


229 


Limoges Enamels and Ivory Carvings 


ANTIQUE ITALIAN CARVED IVORY GROUP OF THE XVII 
CENTURY: 


Subject: “Madonna and Infant Christ’’; wood base. _ 
Height, 12% inches. 


ANTIQUE FRENCH CARVED IVORY BOOK PLAQUE OF 
THE XIV CENTURY. 
Scenes of the Annunciation, and Christ among the Doctors. 
Height, 21% inches; width, 3% inches. 


*From the Cathedral at Segovia. 


ANTIQUE CARVED IVORY FIGURE OF THE XIV CENTURY. 
Subject: “Madonna and Child.” Height, 7 inches. 


*From the convent at Salamanca. 


ANTIQUE CARVED IVORY FRAGMENT OF A DIPTYCH 
OF THE, XP. CENTURY. 


Subject: “The Virgin and two Saints.” 


Height, 3 inches; width, 2 inches. 
From the Cathedral at Segovia. 


ANTIQUE SPANISH CARVED IVORY (FIGURE -Or tint 
XVileCEN EUR Ys 


Subject: “The Infant Jesus’; on a wood base. Height, 12 inches. 


ANTIQUE ITALIAN CARVED IVORY: FIGURE OF THE 
END OF THE-XVI.CENTURY. 


Subject: “Ste. Catherine’; on a wood base. Height, 8 inches. 


SIX PIECES OF ANTIQUE LIMOGES CHAMPLEVE ENAMEL. 


Formerly formed the decorations of a Crucifix. Period, the begin- 
ning of the fourteenth century. 


From a church at Salamanca. 


ANTIQUE BYZANTINE BRONZE CRUCIFIX. 


The figure of Christ, decorated with Limoges enamel, wearing a 
crown set with turquoises. End of the twelfth century. 
Very rare. Height, 9 inches. 


“From a church in the Province of Madrid, Alcala de Henares. 
(See Illustration). 


50 


sioyinod uvaf Aq “TAINVNY SHADOW 
puoursay eiarg Aq “TANVNGA SHADOW! 


puousey azatg Aq “THINVNA SHODOWT! 
THINVNA SHDOWII AO ANOVId YOOM ANILNVZAd ANOLLNV 


THINVNA SHDOWIT AO ANOVId OOM ANILNVZAY ANOLLNV 
XIMIONUO AZNOUM ANILNVZAd ANOLLNV 


AAA 


Uyeee 


230 ANTIQUE BYZANTINE BOOK PLAQUE OF LIMOGES 
ENAMEL. 


The Virgin in relief. Twelfth century. Height, 634 inches. 
The handle at the back added later for presenting it at the com- 
munion for the devoted to kiss. 


From the Cathedral at Siguenza, Spain. 
(See Illustration.) 


ae sy i 4h »: 
ed csacidibrbgutitaa 


1 
/ 

a) 
{ 
Re 
ays 
; 
iv 
y 
/ 
4 

/ 
{ 

f 

y 

i 


8 I AO AE, 
‘i So She a8 


* Pie # o 
8 OM SGA AIL EA 
F 


| | AMAL, eras 
WA APA RAE LIEK EL, 4 


ji 


No. 232. GOTHIC BASIER DE PAIX, SPANISH; 
OF THE EARLY XV CENTURY 


231° ANTIQUE BYZANTINE BOOK COVER] OFS EiniOGrsS 
CHAMPLEVE ENAMEL. 


Subject: “the Crucifixion and two Saints.” From the beginning 
of the thirteenth century. Very rare. 
Height, 94% inches; width, 5% inches. 
From an Ursuline convent, Balanguer, in Catalonia. 
(See Illustration.) 
o2 


232 


+33 


4|- 234 


235 


ANTIQUE GOTHIC BASIER DE PAIX, SPANISH, OF THE 
Panty XV CENTURY. 


Silver and blue enamel; the base set with crystals. (One missing.) 
Height, 7 inches; width, 4 inches. 


From the Cathedral at Segovia. 
(See Illustration.) 


ANTIQUE ORIGINAL LIMOGES ENAMEL, BY PIERRE 
REYMOND. 


An original of the sixteenth century. Subject: ‘‘The Resur- 
rection.” Height, 71% inches; width, 61% inches. 
From a convent at Vittoria. 
(See Illustration. ) 


ANTIQUE ORIGINAL LIMOGES ENAMEL, BY PIERRE 
REYMOND. 
An original of the sixteenth century. Subject: “The 
Magdalen.” Height, 71% inches; width, 61% inches. 
From a convent at Vittoria. 
(See Illustration.) 


ANTIQUE ORIGINAL LIMOGES ENAMEL, BY JEAN 
COURTOIS. 
Oval, framed in silver with corner reliquaries. Subject: “The 
Adoration of the Magi.” Height, & inches; width, 6 inches. 


From the Cathedral at Pampeluna. 
(See Illustration.) 


Antique Wood Carvings of the Fourteenth to the 
Eighteenth Centuries 


236 ANTIQUE SPANISH TABERNACLE DOOR OF = THEexXyi 
CENTURY. | 

Subject: “The Resurection,” showing figures in relief in color 

and gold. Height, 2144 inches; width, 13% inches. 


From a church in Burgos. 


>) 


237 ANTIQUE SPANISH CARVED WOOD FIGURE OF THE END 
OF THE-XVI_ GENTURY 
Subject: “Ecce Homo,” in polychrome decoration. 
Height, 12 inches. 


238 ANTIQUE CARVED WOOD STATUETTE OF THE XVII 
CENTURY. 
Subject: “St. Francis of Assisi.” Polychrome decoration. 
Height, 19% inches. 


239 ANTIQUE SPANISH CARVED WOOD RENE OF THE 
XVI CENTURY. 
Representing a Bishop; decorated in polychrome. 
Height, 154% inches. 


(See Illustration.) 


240 -ANTIQUE SPANISH CARVED WOOD DIPTYCH OF THE 
XVI CENTURY. 

The two panels with relief figures representing the “Mass of 

St. Gregory”? and the “‘Martyrdom of a Pope’; decorated in 

polychrome. Height, 34 inches; width, 37 inches. 


From the convent at Reosejo. 


241 ANTIQUE ITALIAN CARVED WOOD TABERNACLE OF THE 
END OF THE XV CENTURY. 
Two front doors, carved and finished in polychrome and gold, 
having iron bolts. The sides carved in relief. 


Height, 21 inches. 
From a church in Burgos. 


242 ANTIQUE FLEMISH CARVED WOOD FIGURE OF THE 
XV CENTURY. 
Subject: “‘Madonna and Child,” gilded. Height, 114% inches. 
From a church at Toledo. 
54 


“4 emg ee 


me nes 


Sabine 
scram 


OD a itp, 


ia 


Hie 


Small Objects on Top: 
ANTIQUE CARVED WOOD BISHOP 
ANTIQUE FLEMISH GROUP OF ST. MARTIN 
SPANISH CABINET OF THE XVI CENTURY 


5d 


243 


244 


245 


246 


247 


248 


ANTIQUE CARVED TABERNACLE PANEL OF THE XVI 
CEN EU RIG 


- Subject: ‘“The Resurrection,”’ in relief, decorated in polychrome 
and gold. Height, 20 inches; width, 14 inches. 


ANTIQUE SPANISH CARVED WOOD NICHE OF THE XVI 
CENTURY, 


The exterior painted with birds and foliage in gold; the interior 
showing relief carving, gilded. The base contains a small drawer. 


Height, 22 inches. 
From a church at Murcia, Spain. 


ANTIQUE FRENCH CARVED WOOD GROUP OF THE XVI 
CENTURY. 


Subject: ““The Martyrdom of a Saint.” Height, 12 inches. 


ANTIQUE FLEMISH CARVED WOOD FIGURE OF THE 
XV CENTURY. 


Decorated in gold and polychrome. Height, 12 inches. 
From a church in Toledo. 


ANTIQUE SPANISH XVI. CENTURY GAR Vp aey, oD 
PANEL OF ST. JAMES. 


Seated on horseback, attended by kneeling figures; in polychrome 
decoration. 


*From a convent at Salamanca, 


ANTIQUE FLEMISH CARVED WOOD FIGURE OF THE 
XV. CENTURY. 


Subject: “St. Martin on horseback, with beggar at his side.” 
Height, 171% inches. 


From a church at Saragossa, Spain. 
(See Illustration.) 


ANTIQUE SPANISH. RELIQUARY CARVED AS THE BUST 
OF A MONK. 


End of the sixteenth century, in polychrome decoration. The 
relic receptacle is in the breast. Height, 28 inches. 
From a convent at Salamanca. 


56 


‘0SZ 


AUNLNAO AIX AHL AO ‘NOU AVLIV GAAUVO ANOLLNV 


250 


252 


253 


254 


255 


ANTIQUE. CARVED ALTAR GROUP, END OF THES xi 


CENTURY. 
Subject: ““The Mass of St. Gregory,” showing ten figures in 
polychrome decoration, with Royal attributes in gold. 
Height, 39 inches; width, 36 inches. 


From the Royal Santo Domingo Cathedral in Rioja. 
(See Illustration.) 


ANTIQUE SPANISH CARVED WOOD STATUETTE OF A 
YOUNG ARAB OF THE -XVIT CENTURY. 


Showing the young Arab after conversion to Christianity. | 


Polychrome decoration, the base carved and gilded. 
Height, 19% tnches. 


ANTIQUE ITALIAN XVII CENTURY STATUETTE OF 
S. ANTOINE OF PADUA. 
Of gilded bronze, the base of Sienna marble. 
Height, 144% inches. 


From a convent at Tarragona. 


SIX ANTIQUE CARVED WOOD PILASTERS, BY BERUGETE. 
Carved with Florentine arabesques and scrolls in relief, and 


finished in gold on a white ground. 
Width, 9 inches; length, 6 feet. 


ANTIQUE SPANISH RELIQUARY CARVED AS THE BUST 
OF A WOMAN. EARLY XVI CENTURY. 
In polychrome decoration. ‘The relic receptacle in the top of 
the head. Height, 22 inches. 


Carving from a convent at Burgos. 


ANTIQUE CARVED WOOD ALTAR GROUP OF THE XV 
CENTURY. 
Subject: “The Mass of St. Gregory,” showing six figures of 
cardinals in polychrome decoration. \ 
Height, 31 inches; width, 32 inches. 


From a convent in Valladolid. 
(See Illustration.) 


ANTIQUE FLEMISH RELIQUARY CARVED AS THE BUST 


OF A WOMAN WEARING A CROWN. XIV CENTURY. 
The relic receptacle in the breast. Height, 21% inches. 
From a convent in Saragossa, Spain. 


58 


No. 255. ANTIQUE CARVED WOOD ALTAR GROUP OF THE XV CENTURY 


257 ANTIQUE CARVED WOOD GROUP OF THE XV CENTURY. 
In a single piece representing “The Flight into Egypt,” showing 
the Virgin and Child on a Donkey, with St. Joseph gathering 


Fe ff fruit from branches arching overhead, which support two angels; 


decorated in polychrome and gold. 
Height, 50 inches; length, 37 inches. 


From a convent at Burgos, Spain. 
(See Illustration.) 


258 ANTIQUE SPANISH CARVED WOOD BLAZON OF THE XVI 


CENTURY. 
In polychrome and gold decoration. Height, 24 inches. 
From a church at Valladolid. 


259 ANOTHER SIMILAR. 
From a church at Valladolid. 


260 ANTIQUE SPANISH CAEN STONE BLAZON OF THE XVI 
CENTURY. Height, 19 inches. 


From a chateau in Spain. 


59 


ANTIQUE CARVED WOOD GROUP OF THE XV CENTURY 
60 


261 


262 


263 


264 


266 


267 


268 


FRENCH MARBLE ESCUTCHEON OF THE XVI CENTURY. 
Height, 26 inches. 


From a chateau at Pau. 


ANTIQUE SPANISH STONE ESCUTCHEON OF THE XVII 
CENTURY. 
With bronze crown. Height, 26 inches. 
From a chateau in Spain. 


ANTIQUE FRENCH MARBLE ESCUTCHEON OF THE XVII 
CENTURY. Height, 22 inches. 


*From a chateau at Lyon. 


ANTIQUE SPANISH HOLY WATER FONT OF SCULPTURED 
STONE. 
Shaped as a shell. 


From a church at Balaguer in Catalonia. 


ANTIQUE FLEMISH CARVED WOOD DIPTYCH OF THE 
END OF THE XV CENTURY. 
The panels show the “Annunciation” and “Nativity.” The 
frame decorated in polychrome and gold. Each panel, 
Height, 19 inches; width, 17 inches. 


From a Cathedral at Saragossa, Spain. 


ANTIQUE ITALIAN IRON TRIPTYCH OF THE XVI 
CENTURY. 
Showing the Madonna and Child in relief, decorated in color and 
gold. 
Height, 10 inches; width, 154% inches. 
From a convent at Pampeluna. 
(See Illustration.) 


ANTIQUE FRENCH MARBLE STATUETTE OF THE XV 
CENTURY. 
Subject: “Madonna and Child.”” The Madonna holds a book in 
one hand and wears a crown. Height, 14% inches. 


From a convent at Pau. 
(See Illustration.) 


ANTIQUE CARVED STONE STATUETTE OF ST. MARTHA 
Opeire XLV-CENTURY. 
School of Bourgogne. Height, 21 inches. 
From a church at Macon, France. 
61 


No. 266. ANTIQUE ITALIAN IRON TRIPTYCH OF THE XVI CENTURY 


269 TWO ANTIQUE ITALIAN CARVED MARBLE LIONS OF 
VH Ee XVeCR Ni Rvs 


Seated, they hold escutcheons and wear crowns. (One damaged.) 
Height, 164% inches. 


From the Monastery of Anteguera in Granada. 
(See Illustration.) 


270 ANTIQUE ITALIAN COFFER OF THE XV CENTURY. 
Hexagonal in form, with canopy top, having inlaid borders; 
the sides encrusted with carved bone plaques. (Finial missing.) 


Height, 9 inches; diameter, 9 inches. 
From a church at Murcie, Spain. 
(See Illustration.) 


271 ANTIQUE PERSIAN SWORD OF THE XV CENTURY. 
The blade marked, the handle enamelled and gilded. 


From a convent at Vittoria. 


272, ANTIQUE HISPANO-MORESQUE CHAIR OF THE XY 
CEN LURK: 


Decorated with medallions of silver and ivory; seat and back 


of stamped leather of the period. 
Very unusual. From the Palace of the Bishop of Valencia. 


62 


273 


274 


275 


ANTIQUE HISPANO-MORESQUE COFFER OF THE XV 
ENTURY. 


Of walnut, inlaid with ivory both outside and inside. The 
interior fitted with drawers and compartments, whose fronts 
are inlaid with ivory; iron drop-handles. 
Length, 30 inches; width, 18 inches; height, 12 inches. 
From a convent in Granada. 


ANTIQUE SPANISH CABINET OF THE XVI CENTURY. 


With drop front, inlaid with rosewood and ‘holly etched; the 
interior showing eight drawers, whose fronts are inlaid with 
scroll, flowers and masques; the central drawer showing a figure. 

Length, 19 inches; height, 14 inches; depth, 12 inches. 


From a family in Saragossa. 


AN TIOUER SPANISH CABINET OF THE XVI CENTURY. 
Of walnut, inlaid with carved boxwood, having ten drawers 
and two compartments, whose fronts are decorated with sculp- 
tured busts, scrolls and monograms; bronze drop-handles. The 
base shows numerous drawers and compartments decorated 
with carving in relief. 

Length, 41 inches; depth, 15 inches; height, 50 inches. 


eee reeor ANISH CABINET OF THE EARLY. XVI 
CENTURY. 


Having drop-front, ornamented with plaques pierced in a foliated 
pattern and gilded, laid on red velvet; with antique lock and 
drop-handles; the interior fitted with numerous drawers and com- 
partments ornamented with carved wood and ivory. ‘The base 
consists of two end-supports of columns, joined by an arcade. 

Length, 41 inches; depth, 17 inches; height, 56 inches. 


(See Illustration). 


277 ee TIOUE SPANISH WALNUT CABINET OF THE XVI 


CENTURY. 


The drop-front is inlaid with ivory both within and without; the 
interior fitted with fourteen drawers and two compartments, 
decorated with ivory. The whole supported on carved spiral 
columns, joined by a carved arcade. 
Length, 33 inches; width, 18 inches; hatght 56 inches. 
From the collection of Count de Guendelier, Spain. 
63 


278 


279 


280 


281 


282. 


283 


ANTIQUE SPANISH CABINET OF THE EARLY XVI 
CENTURY. 
The drop-front ornamented with iron plaques pierced in a foliated 
pattern, and laid on red velvet, the interior fitted with numerous 
drawers and compartments, the fronts decorated with sculptured 
wood and ivory; drop-handles and antique lock; the. base has 
numerous drawers and compartments, with relief Arabic ornament 
in ivory. Length, 41 inches; width, 17 inches; height 55% inches. 


ANTIQUE SPANISH WALNUT CABINET OF THE XVI 
CENTURY. 
The front having numerous drawers and compartments carved 
with coat-of-arms, leaves and scrolls; the slides with shell ter- 
minals; the base consists of two upright end-supports, joined by a 
carved arcade. 
Length, 50 inches; width, 16 inches; height 68 inches. 


(See Illustration.) 


ANTIQUE FRENCH RENAISSANCE TAPESTRY FRAGMENT. 
Subject: ““The Chase,’’ and a Chateau in the background. 
*From a chateau at Pau. Height, 62 inches; width, 65 inches. 


ANTIQUE FLEMISH TAPESTRY OF THE BEGINNING OF 
THE XVI CENTURY. 
Subject: “Farm Scene with Figures,” with modern border. 
Height, 58 inches; width, 76 inches. 


*From a chateau at Lille. 


ANTIQUE AUBUSSON TAPESTRY OF THE XVI CENTURY. 
A Grand Seigneur presenting a sword to his soldiers returned 
from the war; floral border. Height, 121 inches; width, 94 inches. 

From the church of Teruel, Spain. 


ANTIQUE SPANISH CARVED WOOD RETABLE, OF THE 
XVI CENTURY. 


Central painting shows Madonna and Child, with Saint Ann 
in adoration, painted on gold ground; lunette shows Crucifixion, 
with angels and saints in adoration; in architectural setting, 
having a base with Latin inscription and escutcheon carved in 
relief from which rise pilasters and carved spiral columns sup- 
porting a pediment. The whole finished in gold. 

Height, 651% inches; length, 79 winches. 

*From the Spanish church in Guadalajara. , 


64 


* EES 


WWE BEET 


LOUIS XVI MANTEL CLOCK (On Top) 
ANTIQUE SPANISH CABINET OF THE XVI CENTURY 


es 
Hs, 


TEE} 


4 


33> 


3 


YPC) 


TEE ‘ 


284 ANTIQUE SPANISH CARVED WOOD RETABLE OF THE 
XVI CENTURY. 


~Showing seven panels carved in high relief, the subjects being: 
“The Nativity,” “St. Luke in Adoration,” “Descent from the 
Cross,” ‘‘Crucifixion”’ and ‘‘Martyrdoms of Saints,” finished in 
polychrome and gold; the whole supported by pilasters and 
columns upholding a pediment, the cornice studded with carved 
heads of cherubim; the whole finished in gold. 


From a church in Cuenca, Spain. 


No. 301. TWO FLEMISH PRIMITIVE PANELS 


66 


THIRD SESSION 
Friday Evening, February 19, 1915, at 8.15 o'clock 


Primitive Paintings of the Flemish, Italian and Spanish 


286 
: i / ie 
i] 
287 
yf 
ley) * 
288 
289 
ff 
YU 
290 
em 


Schools, Antique Retable and a Remarkable 
Portrait by Goya 


. ANTIQUE OIL PAINTING, BY AN UNKNOWN PAINTER, 


OF THE FRENCH SCHOOL. 
Portrait of a Court Lady of the time of Louis XV. Canvas. 
From a chateau at Evreux. Height, 32 inches; width 251% inches. 


ANTIQUE OIL PAINTING OF THE SCHOOL OF RIBERA. 
Subject: ““Abraham Sacrificing his Son.”’ 
wood frame. 


From a church in Seville. 


Canvas. In carved 


Height, 41 inches; width, 36 inches. 


ANTIQUE ORIGINAL SEPIA DRAWING, BY LORENZO 
TIEPOLO (1737-1772). 
Subject: “Cain and Abel.” 
Height, 201% inches; width, 154% inches. 
From a chateau at Caen, Normandy. 


ANTIQUE OIL PAINTING OF THE SPANISH SCHOOL OF 
gH xXVI-CENTURY. 
Subject: Isabella Bourbon, Queen of Spain. In antique carved 
wood frame. Canvas. Height, 23 inches; width, 18 inches. 


From a noble family of Saragossa. 


ANTIQUE PRIMITIVE PANEL OF THE XV CENTURY. 
Subject: ‘The Condemnation of St. Andrew.” 
Height, 331% inches; width, 264% inches. 


From a convent at Saragossa. 


ANTIQUE FLEMISH PRIMITIVE PAINTING OF THE XV 
CENTURY, ATTRIBUTED TO PETRUS CRISTUS (1400- 
1473). 
Subject: “Female Saint.” 
(Repaired.) 


Panel. 
Height, 10 inches; width, 8 inches. 


67 


ANTIQUE FLEMISH TRIPTYCH, OF THE XVI CENTURY 


No. 299. 


ANTIQUE FLEMISH OIL PAINTING, BY VAN DORIN, OF 
THE XVIII CEN'FURY. 
Subject: “A Vase of Flowers.” Canvas, signed ‘‘M. Van Dorin, 


1784.” Height, 221% inches; width, 16 inches: 
From a noble family at Madrid. 


ANOTHER SIMILAR. Companion to the foregoing. 


ANTIQUE PRIMITIVE FLEMISH PAINTING, BY BOSCO. 
PERIOD, XVI CENEURY. 
Subject: “ The Vision Tondali.” This little picture shows 
numerous small figures and is marked by characteristic medieval 
imagery. Panel. Height, 81% inches; width, 6 inches. 


From a convent at Avilla. 


ANTIQUE STILL-LIFE PICTURE, BY MARCOS CORREA. 
This painter of the Spanish School was a member of the Academy 
at Seville, and died in 1673. He devoted himself to still-life 
subjects, which he rendered with great care and much detail. 
His work is little known outside of Spain. Canvas, signed. 

eed Height, 39 inches; width, 21% inches. 


From a convent in Valladolid. 


ANOTHER. 


Companion work of the same size. 


ANTIQUE SPANISH PRIMITIVE PANEL OF THE XV 
CENTURY. 
Part of a retable; subject: ‘Martyrdom of St. Andrew.” 
From a convent at Saragossa. Height, 35 inches; width, 27 winches. 


ANTIQUE FLEMISH TRIPTYCH PANEL OF THE END OF 
THE XV CENTURY. 
Subject: ““The Descent from the Cross.’”’ Panel. 
Height, 141% inches; width, 16 inches. 


From the monastery of the Escorial. 


ANTIQUE FLEMISH OIL PAINTING, BY KOFFERMANS, 
OF THE XVI CENTURY. 
Subject: “The Crucifixion.” The Cross rises against a land- 
scape background, with the three Holy Women gathered about its 


foot. Panel. In antique frame. 
Height, 12 inches; width 843 winches. 
From a convent at Valladolid. 
69 


a) 
S 
am 
O 
Q 
Zz. 
< 
as 
) 
= 
> 
i 
ca 
Za 
< 
AY 
a 
is 
= 
ea 
= 
fx 
— 
ea 
‘= 
= 
x 
A, 


302 


< 303 


2,10 


i Ku. ov/ 


ANTIQUE TRIPTYCH OF THE FLEMISH SCHOOL OF THE 
XVI CENTURY. 
Subject: “Adoration of the Magi,” the side panels showing the 
“Flight into Egypt” and the “Nativity.” 


From a church at Vittoria, Spain. Height, 28 inches; width, 42 inches. 
(See Illustration.) 


ANTIQUE FLEMISH PANEL OF THE END OF THE XV 
CENTURY. 
Subject: “The Virgin and Child.” Wearing a red mantle, the 
Mother, seated in a garden, leans her head against that of her 
Child, whom she holds on her arm; fruit-trees laden with fruit 
rise at the back. Panel. In a modern frame. 
Height, 151% inches; width, 101% inches. 


From a convent at Pampeluna. 
(See Illustration.) 


TWO ANTIQUE PRIMITIVE FLEMISH PANELS OF THE 
XVI CENTURY, FRAMED TOGETHER. 
Subject: ks John” and “St. Elizabeth.” 


Each, height, 18 inches; width, 8 inches. 
From a Beh 3 in Madrid. 
(See Illustration.) 


ANTIQUE OIL PAINTING, BY MARCELLUS KOFFERMANS. 
PERIOD, XVI CENTURY. 
Subject: “The Reading Magdalen.” Dressed in white, the 
Magdalen reclines on the ground with a book open before her. 
Landscape background. 

Little is known of this Antwerp painter, save that he entered 
as a Master of the Guild of St. Luke in that city in 1549, and 
his pictures are rarely met with. Panel. 

Height, 6 inches; width, 8 inches. 


Bought from a family at Cadiz, Spain. 


ANTIQUE OIL PAINTING, BY CLAUDIO COELLO (1621-1693). 
Subject: “Portrait of a Spanish Nobleman.” ‘The subject 
wears a decoration, and the inscription at the bottom of the 
canvas informs us that he was the founder of a Chapel. ‘Though 
of Portuguese parentage, Coello was born at Madrid and became 
Court Painter to Philip IV. He was the last great Spanish 
painter of the seventeenth century. Canvas. 

Height, 41 inches; width, 33 wnches. 


From the Castelar family at Madrid. 
(See Illustration.) 


71 


rors 


SS 


ANTIQUE TRIPTYCH, BY THE MASTER OF FRANKFORT, OF THE COMMENCEMENT OF THE XVI CENTURY 


No, 308. 


No. 307. THE NAPKIN OF VERONICA 
By El Greco 


304 ANTIQUE ITALIAN RETABLE OF THE END OF THE XV 
CENTURY. 
Subject: “The Nativity,” upper panel showing Christ and 
Female Saint. In the border appear single figures of Saints. 
. The whole framed in carved wood of the period. 
Height, 64 inches; width, 34 inches. 


(See Illustration.) 


305 ANTIQUE SPANISH PRIMITIVE PAINTING OF THE XI 
OR XII CENTURY. 
Being the door of a Sacristy painted on both sides; one side show- 
ing six panels with subjects from the New Testament, painted 
, on a gold background; the reverse side showing scenes from the 
Life of Christ. 
Height, 6 feet 6 inches; width, 4 feet 9 inches. 


From a church at Balaguer, Catalonia. 
(See Illustration.) 


73 


OF THE END OF THE XV CENTURY 


> 


ITALIAN RETABLE 


No. 304. 


74 


ANISH PRIMITIVE PAINTING 


SP 


. 


305 


No. 


Z, 
< 
= 
<a 
— 
al 
© 
Zz. 
an 
i 
Z, 
< 
A 
MN 
= 
fz, 
© 
tH 
<x 
aa 
ft 
ae 
‘s) 
ae 


No. 303. 


By Claudio Coello 


306 ANTIQUE PAINTING, BY GIOVANNI CIMABUE (1240-1302). 

Subject: “The Virgin Enthroned with Infant Christ.” Seated 

on a throne, the Mother wearing a blue mantle holds the Child, 

robed in red, on her left arm; the whole against a background of 
gold. 

Cimabue, whom Vasari termed “‘the father of modern painting,” 

: is renowned for his colossal Madonna in the Church of Santa 

+ Co Maria Novella, in Florence, for which it was painted. This 

: eS historic picture was so admired by his contemporaries that it 

AV was carried in festive procession through the streets of Florence, 

Mf yw and up to that time was the largest Altar piece that had been 

painted. he present example is believed to be the only one in 

this country. Panel. Height, 52 inches; width, 32 inches. 


From the Cathedral of Calahara, Spain. 
(See Illustration.) 


307 ANTIQUE OIL PAINTING, BY DOMENICO THEOTOCOPULI 
(CALLED “EL GRECO”), 1584-1625. 
Subject: “The een of Veronica.” Canvas, signed. 
Height, 19% inches; width, 25% inches. 


From a convent at Seville. 


ay yt (See Illustration.) 
nw 


308 ANTIQUE TRIPTYCH, BY THE MASTER OF FRANKFORT, 
OF THE COMMENCEMENT OF THE XVI CENTURY. 
The center panel shows ‘‘ The Mystic Marriage of St. Catherine”’; 
.. the side panels angels with musical instruments. 
VF, oO Height of the central panel, 27 inches; width, 19 inches; side panels, 
eal / height, 27 inches; width, 8% inches. 


lana oA From the parish church of Casbas (Huesca). Shown in the Retrospective 
a a fie Art Exhibition in Saragossa in 1908, and described and illustrated in the 
Historical and Critical Volume, by Emile Bertaux, published in Paris in 1910. 


(See Illustration.) 


309 OIL PAINTING, BY FRANCESCO JOSE DE GOYA (1746-1828). 
Portrait of La Marquise de Sonora. Dressed in black with 
a white fichu crossing her bosom, the lady is seated in a red chair 
against a green curtain background. Her white hair is rolled high 
above her forehead and she gazes directly toward the spectator. 
The only Spanish painter showing remarkable quality during 
=the latter part of the eighteenth century; only im recent years 
” has Goya won the recognition his art deserved. Canvas. In- 
piv a modern carved wood frame. Height, 40 inches; width, 30 inches. 
(See Frontispiece.) 


77 


ip. 


"hb OLE 


\ 
pe aed 


~& 
4 


fy ee 
, tal 
. 4 a ' 
i f 
‘ 
\ 
© 
AD 
- 


amit INSTITUTE: © 


ETTY RES 
| hl | | 
| hl | | 
3 3125 


MN nN 


i Vet katy wey dears + 
VHNGER EME aL hee [hey 
ve apni Che Pat ne iceng ba! 


ange 


Abe ee bty 
Seen qlahere her 
arcay heal elb hu ene at 
Roni fe segues ay ‘ 
Ou FoR) bet ya | ous 106 qt 
(ke we be POC FTEG eye ete or f 
Pade dd dle OM a ADH Mi 
wee errinyg Meda lle May ha 
Sites renders 
© eo reyentin eanhy 


Kite GA RHRK EA tg 


VF 


Aine 
shee 


Ay arf Pad & Te 
eh he Mevegd mien 


ST eA Vic as bon kine ACHE 
" SNe ar 
oy 


way OG 
WE ba! Weleke Te 
Mathis Hy (ape FER ed eine Mab 
OE per Tyee eh rads fe 
Aide HeNeg nity tape 
bine 


ae ta 
abe * mee 
SOCAL A cies hyddetenk Hane Aeie Phitt wh (le ped Wes 
re Oat IEG Whi Pyadang ee BEE CER bays SN) bhp 
IMIR 04 Fat eat As CTH bay iy ny Ts 
Mi abadidantnenl fecha reva na aeomags bal 


babe Det FAL Dt 
i has ete oY 


deopy! Oa Li He RAE H wit: e even a ty Hea 
senate itateiae atte aha anette Koester tea Us aEr Leder eh Boye 
sottvaraeatces roti aN Painntitie pene kG babe ait Abed ti PEA Tee f Mis 
w Oe 


Sy ONC AYP RRR DAY Ge 
Cao I iM HE 
; vrai ds Het ed Wey Hatent 
Hod Riles elvaire iy tn hee B Ga pede niet 
aepaee ge reid peer me sgh Wat tenh 
A rob Sb (teehee, hd hi LO RD Oh RUE PALA PA ba) 
sh Hee 13! WN MOS ta: rieeest PI oe cyaweasiatt if ayhe raap lite Atenebianeay 
Shite enoe ed hada py dei aufabre delete n\Sa ae dey de 

Wa ganee besbiiiny eared tll USK tte peti ha Ue Ine Gees 4 
ee HRA LEM dle See Epeqegedy r= ( Be 
AL hw id o6 re elm emahe tate nen EUR tly ie Pes ol Beata doh 4 


elias 
i 


Wereteordetiy d 
ibnib urine aby shat Ang 
bd feeemg OY Wap te Maren A iepang afd pelea, 

SAR LLL Acard ded Crepe 
bcp rants peehube be ae nite: “Beis vais 
eps Medel had wad) bess by nae 
Radian deeets ae 


PUES FeLi Bee 
CUR di eas 


ee | 
ae | 


baud 


vod 


eae s 


meat thy, 
Lpube bd baa 


(bmn Ne fepsaa aleititpas' i 
dre Ris Paes Rede al vied ene ene ite 
my " sutety on sHeyeteed tiny, 


athe itt ep ale ib a oe stones) SURE sale pepe de masiediteneguteay hy at eeled forks Ate tate, x : 
eh Ad coat cs ow th Oe OT a Mok bari (ote det SL ed enews Peirce’ el aged at lisel ith eleuia ppl #e at) th dit 
pPereht ern bein etl By seonieenndcted ibnhiiaas eee neue righdh . Hey Pacts te i leore Hts Fs 
wea ory) asduieie itt Pe ue aa Mtpicteigge tngedensay te ii aus Uaes erg Lo 8 ditehnds vite deers 5 4 
ated feat ne het MS Chu om Ege 3 Ha sey be Hed us vaworin pets gekaire Hts pede ge Uy Heol the be y 
é a a) (ls ir HOPE USERRS Ur HCHO VEE ON Mn qe niy PRIME mes ee he Ustad wits (adie 7 
Lil ears dota) i "hy Reren ay Nirerens pes WENO HEM EME IL Met ene ihe Hy ue Mb penisw beyvetses ver Preidege buen 
sdunconinists at ee pap ele eee \horep Es ete TERA EES MAN et Sede Vente by Dei uae un ¢ 4 
ale Teavetaneisdeeeicinets Liyrerert Hadye ihe ent red ay a Re ibaa Leora bir “i 
Phen Hertel sevedataiteny (sists o, Aaery pesteritatatae taste i¢ eh SUN Hance | ‘ 
eeear elton etnede (ie Oa ftetredtene ye, nies saris Ms Hi aA yl + 
eebedeeegee'9 ebay. titaut tee peteg vaemeeere reba hia feat cite eed ter 4 
reads Ot a) mys nine he + ure) ’ aio meee ah Sinwh eeigege rent Da eee | j 
yn Han Hy bere ledl ay iaystde <3) he eid Hh if it t bay at Hany Arrant ‘ 
loth ef mbar, Hh yh judapbnner rita bale Th wee Her 
pire pie jesod deli hyaies bee aa ath 
eaeverenenst oat 4 Mevete Rearmed { + ewe (leg ph 5 
ry baie) Wridcitoudestacfuieanietete yeieken Ny. pide: ak LEE ERM LIS, 
son elites mat Liwjcdsrecerivestennie he Veketiect BEAM CR AES ° * Hitudy Y A 
ita edit Pee dade eames le hehe) Der MNanvating Hi yer he nit a an sua iat bi lene we j 
haqamd sida pay abv tn die ACH DEB AL HHS ME AED UU ed ame Draede He MEME E efle f) } HA fi diets + 4 val wi 
Cal eindetae mba debts yerensear ictnmaoat Hes stepidc eee Nodame y Salty rey i % k ‘f bes . wih ‘ 4 lose i 4 
i Linh vuln 4b rites habit, PY ec eLE ereaste aay 18 ee 7 est oat Ua 5 } i ¥ asah iy Ev} is Sen nh q 
at baal Aby «{yedieibe (hae. bias Reiereeecaanecesttt Coase pnge re Hated iih aey ty. pit weet ory bode Aen Ye oud ® 
ARES OCA RIE SR riadalatte ; ten CIPS Ahi * ; He i - Me : 
¢: fies G +f , } Awe Ue biden ‘ 
ar teaetets hy ay Oy edt ai y ak 
hy geet i ie v4 atEy rn ait an ben oe eves aie t 
Relea ee Far MR UNE be ATA Oe Kemmis y hes 
ob ts f rhs Wy wt ea ae iat v aac fa Dy tere ha + Bee, it 
Heh ae Pes Ms * ht re . 
ea teed ipa? ah nh fick Ves al wate Rened Hay +h Hy HOT aMe Utne a te Date yay ‘ ; 
eeiteiaect les et 45 itt ies prone st NaN 5 a f 
etre murs * ty phe bhytebs Aue ¥ ; 
eras - wit ee tabi rnd yy vith 
i Ha Oe tieitineiet aha Seria Ute 
Be HORSE WAT TERM Aa Bed Lib i hEay Sik 
oe OS EE at aes 
rats - ee efits Hie belo 
dit hi bs ris redemitintt Hee Seth ut Hoar Ue 
ue Ha3 cigetes jeenise ete itt Be ? 
ye : heat bd Rabies iit ‘ 
weap ied rigs yee bea YS ee it wis 
ae a haces etre i 
sunt 4 dhve Hehe sae Hinde ete 
eat by it qui at tat ake SH es nea i : 
* vel) e WY , 
fh sie Rene mainas naan ia fet ‘f oni eit 
: ae nate Pspitet UCR et eyl ay TED Pa 
sie priee irene ai iia rots LH nut a A y ifn a ay 
i fra ni wt it i a HG as " 
: -s ~ 
erect ae ie ratatas aie tinitol ne 
Hh 5 ua + he deuseriig ‘ 
bryape ee ai 2 ) het hen te tie ti 4 
we Kleeas oe eae i bie Soh ete hee bat 
ath ‘ane ay ie Pe Cand itera i rene mee 
uM tis 
Uagte au * Shy ei 
Hess Sey ray “ bhp ean eee Wah i rh Sid yt 


shh 4} 4 : eae 


eh ti 
atk ath hh a ee et N 
Lie teleinbeee ot 1 ee i i 
it : f i 
i] aes oe i Sih 
one a . : 
f hp! si 
ran BAe ee y Hs f bie 
temeM i Rah Oy mati 1 ae 
A r i th 4h ha + 
‘4 ny se i ( 
th aa Ht i wee) 
eit ieQejiciape Ve eat ea Wied 
eee ine We eee 5) M We nl nah be, Beate \ » 
ba t 4 ’ ANd Be ly it 
ie Awa aati th 


wisye fectege th 
Lua need 
seuebadiellt 
gv neciaes 
Amd Moet 

jhcéadatiaue) penis 
Lichahaa} edie faite Ri ihe feo Wethe ie 


Metebulludehivedrwtckens siieded uF 
reves peat mE RSHEY sasiistinds it tod Bo hs ieee 
Lebar b Ped TBP: rh 43 Fetene ishenedehs i 
\ovnatadyagl sdcbe tated ‘ 
ba Ueant : ie npn Fei bh sy rep fee fine 


pours 


ES eats OP: a. 
aie aes = 


Nanetls 


phy basbaber bbb eaaae tae; 
prncocdes Prsbeytiy bit habe Sees a he 
Pb pod baobapy ea ey yy 


A pavbd phe tibet pelt y: te eis ats 
eiediei dens rhea HSE elie] ae i eis 
Hcalryabeydetabs Aine buh) be 4 
Porgy tidy Pheu 4 ae 
Las Sytenchobat vated’ phi He Wea ee 
ae heaibiie “ Hitt: tm nae 


veiw ite he i Hajime 
see HS dard albedo Aube belie fe nee 
Ph erdd lpi p mea taasby td hp eby eRe 7 
wre Hae ey (etree mite heed a a ie 
Mopinker tan rly Hite doings ky ire vieceatt 
nde eoeeusuatiuacatl ber dh de, 
tplele pee bbemteneotteus Hips 
4 RaPrmegy 4.22) (PAT Dobe Uninet 
Sniedhade fic heaeha ht 


indy, 
Sea 
wives Hil Wath rey inet 


ae 
tay 


hon thy 
eee 
ta 


oy 
dee) pie wrene ries * 8 ays 
Aa antes bei ie Hi ah nate jeueieneeciteleHeict sbi 
appeals fahadticene Mic tatiaad eitien ne oe mui 
ae yrarpetneas sn ickhey me + jagene cat 


ee 
Bhd hon deh i fp bebo Hay i) 2 
fea eee 8 i 
ject ev yea ial ht: 


Sih ab iar 


preaaodahrgetny SI ty titataadtes 


+ 
Heeaveseni vets ¥ pep 
Aewonvee | 7 Da! iy ee tibet * it r 
wainiie Fol ny eiebe Veet Hitdisrdaih aed ie Hsayaweanae 
syegiein tis neds dit SEC, tn. m 


ae 


cite ate 


/ vp dsiindie : 
reabereotet ace aanda i 
pee pe sath * eiheesbe et iy fu enor 4 bebe hi dou e(bet inh 
$y3: cbs seas) PUPA ty ateatth ne 
ithe 


tice seta 
vf phe Nave tenere pans ts a 


* 
wh 
Tne ianatteiie Hat 4 Wy teeta oats ; eenashs My pe 
rset isitite eseatitatics seta se sein ofees ‘ 
nee Fir bh I Wey 
Px 
ei ; 


ae : iy i 
ponpcaeasinglarencempadcaeps ia woah } ned in 
nye We 3 J ie 46 ened ih be . heey 
sos ueatdyee: arate i st rest Rotey vis Si led he visgni te “ Mi oe ne = ine 
pean re Macerdabeae Verwity Aoi iebetied nvm irks ie dogg AC) tt ne " ee sehes ie uh ih ine Ke 
va atedearer ted ene ft Oe tan na san aCe at f: , “ge ys rdie eet WD ate 
rt Cre We ate eyenviet sonatas Pyeen eave pea sreatiit tits eee 
mig irer gene’ Coded uy we ie 4 PI PLL Ll i ; + i 
Sr Ag hes ae es a He peceonna fy iia pee Nd in fs brat ‘ t 
Goes sens eit eric eniged hathe AS ip uenn eat nn | a. vif RAST 8 (4 so i 
; paiearatis i cikaiad Pian baat Bite sn He t a rh ‘th Bide he hee Wie Geliete tee Hi 
vile yahnise rf hil aba ae He MeN EEA: hele Be me be AL Wy Hehe hs 
hed ies ibe ms ths NitAe ete a eet Piast hs wrote HM yee ERA Reb 
* . * . , 
Tacieisaed belied Mona a wo iptv hihi i (rh the wld VAP pede Ace vibe wey ria 4 TREAT AOK 


